Pulls For Dresser Quotes

A radical love story is the only device that makes the time-chariot of a village, a city, a country, gallop faster. Such a love story pulls the wheels of that chariot from a murky, regressive past towards a spotlessly clean road under autumn-blue skies. And for that chariot to move forward, to bring change in the village, you don't have to be conscious of being a radical. You just have to fall in love. ~ Aruni Kashyap

We are drawn to certain locations where the land resonates with us and pulls us towards it. People can spend their entire lives looking for the places where they belong, places where they feel at home, where they fit and can comfortably set down roots. ~ Mary Reynolds

If peace comes from seeing the whole,
then misery stems from a loss of perspective.

We begin so aware and grateful. The sun somehow hangs there in the sky. The little bird sings. The miracle of life just happens. Then we stub our toe, and in that moment of pain, the whole world is reduced to our poor little toe. Now, for a day or two, it is difficult to walk. With every step, we are reminded of our poor little toe.

Our vigilance becomes: Which defines our day - the pinch we feel in walking on a bruised toe, or the miracle still happening?

It is the giving over to smallness that opens us to misery. In truth, we begin taking nothing for granted, grateful that we have enough to eat, that we are well enough to eat. But somehow, through the living of our days, our focus narrows like a camera that shutters down, cropping out the horizon, and one day we're miffed at a diner because the eggs are runny or the hash isn't seasoned just the way we like.

When we narrow our focus, the problem seems everything. We forget when we were lonely, dreaming of a partner. We forget first beholding the beauty of another. We forget the comfort of first being seen and held and heard. When our view shuts down, we're up in the night annoyed by the way our lover pulls the covers or leaves the dishes in the sink without soaking them first.

In actuality, misery is a moment of suffering allowed to become everything. So, when feeling miserable, we m ~ Mark Nepo

Alot can happen in eleven minutes. Decker can run two miles in eleven minutes. I once wrote an English essay in ten. And God knows Carson Levine can talk a girl out of her clothes in less then half that time.
Eleven minutes might as well be eternity underwater. It only takes three minutes without air for loss consciousness. Permanent brain damange begins at four minutes. And then, when the oxygen runs out, full cardiac arrest occurs. Death is possible at five minutes. Probable at seven. Definite at ten.
Decker pulled me out at eleven. ~ Megan Miranda

On the drive home, Adam glances at me several times, clearly wanting to talk about what's happened.
But I can barely look up from the door latch.
Exactly six pain-filled minutes later, he pulls over at the corner of my street and puts the car in park. "Do you hate me?" he asks.
"More like I hate myself."
"Yeah." He sighs. "Kissing me tends to have that effect on women."
"That's not what I meant."
"Don't worry about it," he says, still trying to make light of the situation. "It's my fault. It won't happen again."
"I let it happen."
"Yes, but only because you couldn't help yourself. I must admit, I'm far too irresistible for my own good."
"I wouldn't go that far." I can't help but smile. ~ Laurie Faria Stolarz

As I turn the corner, I hear Peter calling out, "Wait! Wait! Sir!" He's following a security guard who is approaching a red backpack on the floor.
The security guard bends down and picks it up. "Is this yours?" he demands.
"Uh, yeah--"
"Why did you leave it on the ground?" He unzips the backpack and pulls out a teddy bear.
Peter's eyes dart around. "Can you put that back inside? It's for a promposal for my girlfriend. It's supposed to be a surprise."
The security guard is shaking his head. He mutters to himself and starts looking in the backpack again.
"Sir, please just squeeze the bear."
"I'm not squeezing the bear," the security guard tells him.
Peter reaches out and squeezes the teddy bear and the bear squeaks out, "Will you go to prom with me, Lara Jean?"
I clap my hands to my mouth in delight.
Sternly the security guard says, "You're in New York City, kid. You can't just leave a backpack on the ground for your proposal."
"It's actually called a promposal," Peter corrects, and the security guard gives him a look. "Sorry. Can I just have the bear back?" He spots me then. "Tell him Sleepless in Seattle is your favorite movie, Lara Jean!"
I rush over. "Sir, it's my favorite movie. Please don't kick him out."
The security guard is trying not to smile. "I wasn't going to kick him out," he says to me. To Peter he says, "Just be more aware next time. In New York, we're vigilant. If we see something, we say somethi ~ Jenny Han

It is well known that women carry poison in their pockets. Did you expect a gun? A woman with a gun would be just another policeman. We fall in love with the convicts, remember that. Policemen marry girls from the neighborhood, high school looms over their unions, the first uniform is her prom dress and his black bow tie and white shirt. But the girls are thinking of poison, thinking of poison as the lights go out on the dresser where the revolver has been placed with care for the night. The black shoes, the fine, thick serge of the coat, shoulders and thighs of stallions. And the policemen are usually shot down by someone out of shape, thin, thin, nothing but living bones. Remember that. ~ Elizabeth Hardwick

Stop.
Stop time.
Stop the world.
Stop everything for the moment he crosses the room and pulls me into his arms and pins me against the wall and I'm spinning and standing and not even breathing but I'm alive so very very alive. ~ Tahereh Mafi

Naomi makes a face and points to the potted flowers near the front door of her houseboat. "Just look at that," she says, as if something upsetting has happened.
She reaches into one of the pots and pulls out a green vine, a few feet long, with several bell-shaped flowers. "There," she says with a vindicated look in her eye, as if this vine has wronged her in some way.
"What is it?" I ask.
She flashes a patronizing smile. "An invasive weed," she says, tossing the vine into the lake. I watch the little white flowers flutter in the water. I want to kneel down and rescue them from drowning. "Morning glory," Naomi continues, shaking her head. "It'll take over if you let it."
I watch as the vine drifts away on the lake. The little flowers bob up and down as if gasping for air. I consider that the vine might find its way to shore and wash up on a patch of soil, where it will start a new existence, maybe sink its roots and thrive. Maybe Naomi has set it free.
I think of the bluebells that grew in my mother's garden when I was a child. Weeds, really. But I'd pick them by the handful, and when bunched together they looked stunning. ~ Sarah Jio

They moved from the drawing room to a dining room on the ground floor where they found spiders large as saucers lurking in the dresser (Ron left the room hurriedly to make a cup of tea and did not return for an hour and a half) ~ J.K. Rowling

You know what my favorite part was?" he says, stepping closer.
"Hmm?"
"We didn't fight. Not once. I hate fighting with you."
"I do, too. It seems like a waste of time when..."
He leans impossibly closer, holding her gaze. "When?"
"When we could be enjoying each other's company instead," she whispers. "But you probably don't enjoy my company here lately. I haven't been very nice-"
He brushes his lips against hers, cutting her off. They're softer than he ever imagined. And it's not enough. Moving his hand from her jawline to entwine it in her damp locks, he pulls her to him. She tips up on her toes to meet him and as he lifts her from the ground, she folds her arms around his neck. Just as hungry for him as he is for her, she opens her mouth for a deeper kiss, pressing her soft curves into him. And Galen decides there is nothing better than kissing Emma.
Everything about her seems made for him. The way her mouth moves in perfect rhythm with his. The way she combs her fingers through his hair, sending a stirring jolt down his spine. The way her cool lips ignite heat through his whole being. She fits in his arms, as if her every curve fills a place on his own body... ~ Anna Banks

Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference."

Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out.

Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head.

For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up th ~ Jimmy McDonough

Emma, I came out here to tell you that you don't have to mate with Grom."
I raise a brow. "Uh, I was never going to mate with Grom."
"What I mean is, Grom is mating with someone else who has the gift of Poseidon. Which means that-"
"I don't have to mate with Grom," I finish for him.
"That's what I just said."
"I mean, I don't have to feel like I've let the entire species of Syrena go extinct because I won't mate with Grom."
He grins. "Exactly."
"But that doesn't change what I am-a Half-Breed. You still can't be with me, can you?"
He rubs his thumb over my bottom lip, thoughtful. "The law forbids it right now. But I think if we give it time, we could get it overturned somehow. And I'm not going anywhere until I do."
He turns us toward the SUV, stopping to retrieve my heels from the side of the road. He helps me in the passenger seat of the Escalade, then hands me my shoes.
"Thank you," I tell him as he walks around to the driver's side.
"It's a little late to blush," he says, strapping in.
"I don't think I'll ever stop blushing."
"I really hope not," he says, shutting his door. Taking my face into both hands, he pulls me to him again. His lips brush mine, but I want more. Sensing my intention, he puts his hand over mine and the seat belt I'm trying to unsnap. "Emma," he says against my lips. "I've missed you so much. But we can't. Not yet."
I'm not trying to do that, I just want to get in a better position t ~ Anna Banks

Yes - and had we one, you'd probably never see us at all." Mrs. Locke adds jokingly.
Emily pulls ecstatically against my clothing, a new found joy in her eyes.
"Samuel! We must find a piano for the Lockes! It is the very least we can do! ~ Nathan Reese Maher

Say goodbye to your mom."
Scottie pauses, then keeps going.
"Scottie."
"Bye!" she yells.
I grab her arm. I could yell at her for wanting to leave, but I don't. She pulls her arm out of my grasp. I look up to see if anyone is watching us, because I don't think you're supposed to aggressively hold children these days. Gone are the days of spanking, threats, and sugar. Now there are therapy, antidepressants, and Splenda. ~ Kaui Hart Hemmings

He takes her hand and they leave. There's a taxi outside and they go to her room without saying anything. Behind the door, she unties the dress, and then reaches for his belt. He pushes her hands away. He'll do it all himself, though his right hand is bleeding. He sits on a small wooden chair and pulls her down on top of him and feels how rough and silky she is straddling him. He is the one moving her, as if she's a doll, and he knows it has to be this way because it makes him feel that he won't die, at least for tonight. ~ Paula McLain

For example, if a starving man pulls a gun on you and you get the upper hand, you will likely let him go because you will feel sorry for him. That's the kind of person you are." "And what kind of person are you?" His face was hard. "The kind who shoots first. ~ Ilona Andrews

People are wrong when they tell you that Conrad was on the side of Africans because his story showed great compassion towards them. Africans are not really served by his compassion, whatever it means; they ask for one thing alone – to be seen for what they are: human beings. Conrad pulls back from granting them this favour in Heart of Darkness. ~ Chinua Achebe

In the strange, shadowed lighting of my small room Dutchy takes off his belt and dress shirt and hangs them over the only chair. He stretches out on the bed in his undershirt and trousers, his back against the wall, and I lean against him, feeling his body curve around mine. His warm breath is on my neck, his arm on my waist. I wonder for a moment if he'll kiss me. I want him to.
"How can this be?" he murmurs. "It isn't possible. I've dreamed of it. Have you?"
I don't know what to say. I never dared to imagine that I'd see him again. In my experience, when you lose somebody you care about, they stay gone.
"What's the best thing that happened to you in the past ten years?" I ask.
"Seeing you again,"
Smiling, I push back against his chest. "Besides that"
"Meeting you the first time."
We both laugh. "Besides that."
"Hmm, besides that," he muses, his lips on my shoulder. "Is there anything besides that?" he pulls me close, his hand cupping my hip bone. And though I've never done anything like this before - have barely ever been alone with a man, certainly not a man in his undershirt - I'm not nervous. When he kisses me, my whole body hums. ~ Christina Baker Kline

You can do better than that." He loops his arms around my waist and pulls me to him.
"Where are your gloves?"
"Better than that too." He drops a kiss on my collarbone. "Good to see you, Cass. I dreamed about you, Cass ... Feel free to improvise."
"Aren't you supposed to be wearing those work gloves? When you're working? Because otherwise your poor hands won't ... "
Gah. I sound like Mom, or the school nurse.
I'm no good at this.
Luckily, Cass is good enough for both of us. "I missed you, Gwen. It's good to see you, Gwen. I dreamed about you, Gwen. Yeah, haven't gotten around to the gloves. More important things to focus on. Want me to tell you what they are? ~ Huntley Fitzpatrick

Why do you think Vietnamese soldiers can forget more easily than American soldiers?' He pulls a half-grin. It is a question he must have contemplated many times. 'We live here. They don't. It's like, say, you and me falling in love with the same girl. We both had good and bad times courting her, maybe she hurt us both. I win and marry her. You go home to your country far away. After twenty years, all you have of her are memories, both the good and the bad. Me, I live with her for twenty years. I see her at her best and at her worse. We make peace with each other. We build our lives, have children, and make new history together. Twenty years and you have only memories. It is not the forgetting but the new history with the girl that is the difference between you and me. ~ Andrew X. Pham

Grace is humbling and restorative. It pulls you down because Christ had to die for you, but also lifts you up because he wanted to die for you. ~ Timothy Keller

Peter puts one arm around my waist, pulls me in, and, looking down at me, he says fiercely, "Neither of us wants to break up. So why should we? Because of some shit my mom said? Because your sister did it that way? You're not the same as your sister, Lara Jean. We're not the same as Margot and Sanderson or anybody else. We're you and me. And yeah, it's gonna be hard. But Lara Jean, I'll never feel for another girl what I feel for you." He says it with all the certainty only a teenage boy can have, and I have never loved him more than at this very moment. ~ Jenny Han

Zara." He sighs. The wind bellows outside. "How can I make you understand this? I need your mom. If I don't get her, more boys will die."
"That's ridiculous."
"No, it's just how it is."
I think for a second. "If that's true, then why did Ian try to turn me?"
He loses his composure. His face shifts into something worried, something almost human. "Did he kiss you?"
"Almost. Betty killed him first."
He almost smiles. He pulls his hand through his hair. "Betty is fierce."
"Is that why you stay away when she's here?"
"Not even a pixie wants to tangle with a tiger."
He blows on the ember in his hand. It turns to dust.
"You seem like you could handle almost anything," I say.
"This?" He smirks. "Parlor tricks. ~ Carrie Jones

Doing a geographic" is a term alcoholics often use for acting on the impulse to start over by moving to a new town, or state, instead of making any internal changes. It's the anywhere-but-here part of the disease that says, "Remove yourself from this, go someplace new, and everything will be better." Two years into our Florida stint, my mother pulled a geographic as radical as the move from Rochester. The new plan was to head for California.

She enrolled in the mathematics graduate program at the University of California's shiny new campus in San Diego, and as soon as our elementary school let out for the summer, she put us into a new Buick station wagon – a gift from her parents – and drove us across the country.

You'd think we'd have protested at yet another move. After all, having been duped before, we were in no position to believe that the next move would be any different. But I have no memory of being unhappy about the news. Because that's what often happens when an alcoholic parent is doing a geographic. She pulls you in and, before you know it, you, too, believe in the promise of the new place. ~ Katie Hafner

But Emma resists all of Galen's reasonings, based on the fact that it doesn't "feel right."
Speaking of things that don't feel right... He pulls his new SUV into her driveway, the excitement sloshing in his stomach like high tide. As he steps out, he notices how much he likes sliding down instead of hoisting himself up from a little compact death trap. He's almost glad Rayna tied the red car around a tree-except that she and Emma could have gotten hurt. He shakes his head, crunching across the gravel of Emma's driveway in his suede Timberlands.
Even over that, he hears the thud of his heart. Is it faster than usual? He's never noticed it before, so he can't tell. Shrugging it off as paranoia, he knocks on the door then folds his hands in front of him. I shouldn't be doing this. This is wrong. She could still belong to Grom.
But when Emma answers the door, everything seems right again. Her little purple dress makes the violet in her eyes jump out at him. "Sorry," she says. "Mom threw a fit when I tried to leave the house in jeans. She's old-school I guess. You know. 'Thou must dress up for the movies,' says the woman who doesn't even own a dress."
"She did me a favor," he says, then shoves his hands in his pockets. More like she did me in. ~ Anna Banks

It is only for a week or two that a broken chair or a door off its hinges is recognised for such. Soon, imperceptibly, it changes its character, and becomes the chair which is always left in the corner, the door which does not shut. A pin, fastening a torn valance, rusts itself into the texture of the stuff, is irremovable; the cracked dessert place and the stewpan with a hole in it, set aside until the man who rivets and solders should chance to come that way, become part of the dresser, are taken down and dusted and put back, and when the man arrives no one remembers them as things in need of repair. Five large keys rest inside the best soup-tureen, scrupulously preserved though no one knows what it was they once opened, and the pastry-cutter is there too, little missed, for the teacup without a handle has taken its place. ~ Sylvia Townsend Warner

A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others,thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least. ~ Jacques Barzun

You're so cute when you're jealous," I say. She looks at me, her resolve melting with my words. I take her face in my hands and gently press my lips to hers. She sighs a quiet, defeated sigh into my mouth and relents, parting her lips for me. I run my hands down her arms and to her waist, then pull her out of the chair and on top of me as I lean back onto the bed.
I place one hand on the small of her back, pressing her into me, and my other hand I run through her hair, grabbing the back of her head. I kiss her hard as I roll her onto her back, proving to her that she has absolutely nothing to be jealous of. As soon as I'm on top of her, she places her hands on my cheeks and forces my face apart from hers.
"So your lips touched someone else's lips? After our first kiss?"
I fall back onto the bed beside her. "Lake, stop it. Stop thinking about it," I say.
"I can't, Will." She turns to me and makes that damn pouty face she knows I can't refuse. "I need to know. In my head all I can picture is you taking some girl out on this perfect date and making her grilled cheese sandwiches and playing "would you rather" with her and sharing seriously intense moments with her, then kissing the hell out of her at the end of the night."
Her description of our first date causes me to laugh. I lean over and press my lips to her ear and whisper, "Is that what I did to you? I kissed the hell out of you?"
She pulls her neck away and shoots me a glare, letting me know s ~ Colleen Hoover

What's that?"
"My friend St. Clair bought it for me. So I wouldn't feel out of place."
She raises her eyebrows as she pulls back onto the road. "Are there a lot of Canadians in Paris?"
My face warms. "I just felt,you know, stupid for a while. Like one of those lame American tourists with the white sneakers and the cameras around their necks? So he bought it for me, so I wouldn't feel....embarrassed. American."
"Being American is nothing to be ashamed of," she snaps.
"God,Mom,I know.I just meant-forget it."
"Is this the English boy with the French father?"
"What does that have anything to do with it?" I'm angry. I don't like what she's implying. "Besides,he's American. He was born here? His mom lives in San Francisco. We sat next to each other on the plane."
We stop at a red light.Mom stares at me. "You like him."
"OH GOD,MOM."
"You do.You like this boy."
"He's just a friend.He has a girlfriend."
"Anna has a boooy-friend," Seany chants.
"I do not!"
"ANNA HAS A BOOOY-FRIEND!"
I take a sip of coffee and choke. It's disgusting. It's sludge. No, it's worse than sludge-at least sludge is organic. Seany is still taunting me. Mom reaches around and grabs his legs,which are kicking her seat again.She sees me making a face at my drink.
"My,my. Once semester in France, and suddenly we're Miss Sophisticated. Your father will be thrilled."
Like it was my choice! Like I asked to go to Paris! And how dare s ~ Stephanie Perkins

Virtue cannot be followed but for herself, and if one sometimes borrows her mask to some other purpose, she presently pulls it away again. ~ Michel De Montaigne

Oscar hung his jacket on the back of a chair and undid the first few buttons of his checked shirt. Camille's fingers trembled as she reached for the lamp on the dresser and twisted the knob, lowering the wick until the light it gave off was that of a small candle's flame. She sat on the bed, and the other side of the hand-rolled mattress dipped with Oscar's weight. She didn't know how to look at him, if she should lie down or just come to her senses and ask him to leave. God, she wasn't doing any of this right.
"You sleep sitting up?" he asked.
Camille smiled, thankful he'd lightened the moment enough for her to lean back onto one of the pillows. Turning on her side, she saw he'd already taken the same position. They lay without touching, without talking, only looking. His eyes grazed her body, slowly absorbing the pink skin of her neck, the slight curves of her breasts, and the arc of her hip. He didn't need to lay a finger on her for the breath to stall in her lungs.
He breeched the few inches between them by sliding his hand atop hers, his skin warm and dry while beads of nervous sweat formed hot on her back. Camille reached out and let her fingertip travel along the fullness of his lower lip and down the curve of his chin. With one sweeping movement, Oscar pulled her tight against his chest and kissed her. A sensation kindled between her hips, spreading to every nerve ending in her body. This was it, the fire and heat she'd always yearned for. All these yea ~ Angie Frazier

Life is a series of pulls back and forth ... A tension of opposites, like a pull on a rubber band. Most of us live somewhere in the middle. A wrestling match ... Which side win? Love wins. Love always wins ~ Mitch Albom